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Space 1999 reboot

More likely, it's just economics. If the new Star Wars films do well, sci-fi TV and movies might become more commercially viable.
There have been plenty of successful sci-fi movies in the last few years, like Interstellar, Gravity, and The Martian, so I really don't see where the success of The Force Awakens really matter that much when it comes to producing more sci-fi shows and movies.
 
If he had no choice or leverage but to accept a new show runner, couldn't Gerry Anderson at least have tried to make an effort to have it be someone other than Fred, the franchise killer? He was aware, like everyone else of the baneful impact that the latter had on Trek's swan song. The argument is that kind of influence was exactly what the U.S suits thought would resuscitate Space from its Season 1 soporific stupor, as I guess they saw it.

Well, perhaps whether or not he could have wielded some influence by making a case for someone else, he may have been too engulfed in his own personal drama to invest himself in any such advocacy at the time.
 
Although Lew Grade and other suits at ITC hired Fred Freiberger, I gather FF and Gerry Anderson got on just fine, at least initially. Together, they came up with Maya as a way to spice things up for the US market. I guess GA wanted to do whatever it took to try to keep production going and save the show. It was mainly the cast that weren't happy about some of the changes and quality of the scripts in season 2.
 
Besides, I think industry insiders are less likely to hold a single failed series against a creator than laypeople are. After all, most TV series fail, for a variety of different reasons. So just about any successful TV producer is going to have failed series on his or her resume. If every TV producer's career ended the moment they had a show cancelled on their watch, we would've run out of TV producers long ago.

Freiberger came into Star Trek at a disadvantage for several reasons -- the show was already flailing in the ratings when he arrived, it was in a niche genre to begin with, and Freiberger was given little guidance or briefing on the series by Roddenberry or any other veteran staffers (since Roddenberry was focusing on his next project and all the veterans had left). Any producer coming into the show in those conditions would've had a slim chance of success. So people in the industry wouldn't have looked at Freiberger's Trek tenure and seen failure -- they would've looked at it and seen that he had experience producing science fiction. Failed shows are just part of the business, but any job running a show counts as experience. And at the time, there weren't that many TV producers who did have experience with science fiction, certainly not at the showrunner level. Their candidate pool would've been quite small, and Freiberger might've been the only one who didn't have other commitments.
 
Although Lew Grade and other suits at ITC hired Fred Freiberger, I gather FF and Gerry Anderson got on just fine, at least initially. Together, they came up with Maya as a way to spice things up for the US market. I guess GA wanted to do whatever it took to try to keep production going and save the show. It was mainly the cast that weren't happy about some of the changes and quality of the scripts in season 2.

I read some comments from Barry Morse made after he left the show but assumed they purely related to the first series - perhaps he had seen what was proposed for the second?

As for the cast and producers - found video on Youtube where Sylvia Anderson was talking about Landau and Bain.

Sounds like there was some very bad blood there and I guess if Anderson had had his way there might have been to different leads.
 
Besides, I think industry insiders are less likely to hold a single failed series against a creator than laypeople are. After all, most TV series fail, for a variety of different reasons. So just about any successful TV producer is going to have failed series on his or her resume. If every TV producer's career ended the moment they had a show cancelled on their watch, we would've run out of TV producers long ago.
If Hollywood held failed shows against producers, Joss Whedon wouldn't have done Dollhouse, Cabin in the Woods, Much Ado About Nothing or become involved in the MCU.
 
I read some comments from Barry Morse made after he left the show but assumed they purely related to the first series - perhaps he had seen what was proposed for the second?

I think he was just pretty unhappy being associated with a sci-fi show in general, considering it beneath his dignity. I get the impression that he was kinda like Alan Rickman's character from Galaxy Quest.



If Hollywood held failed shows against producers, Joss Whedon wouldn't have done Dollhouse, Cabin in the Woods, Much Ado About Nothing or become involved in the MCU.

For that matter, Roddenberry would never have done Star Trek after The Lieutenant failed.
 
I read some comments from Barry Morse made after he left the show but assumed they purely related to the first series - perhaps he had seen what was proposed for the second?

I think he was just pretty unhappy being associated with a sci-fi show in general, considering it beneath his dignity. I get the impression that he was kinda like Alan Rickman's character from Galaxy Quest.

Then a few years later he went did the remake of H. G. Well's "The Shape Of Things To Come".
 
More likely, it's just economics. If the new Star Wars films do well, sci-fi TV and movies might become more commercially viable.

This is not 1977, where Star Wars kicked the copycats into overdrive. In this 21st century era, sci-fi/fantasy lives or dies on its own, and does not need this new version to fuel sci-fi TV or movies. The SW prequels are recent history, but they did not inspire a new wave of sci-fi films. Arguably, the Lord of the Rings trilogy triggered more fantasy TV & movie productions, due to its kind of fantasy being overwhelmingly successful for the first time in cinema history (ex. Clash of the Ttians & Dragonslayer did not see audiences wrapping around city blocks).

SW--since the prequels--was "been there, done that" so it was no longer that great new thing causing another film genre movement.
 
The only reason Star Wars inspired so many other SFF movie back in the late '70s was because it was a new unique thing, that's not the case any more.
 
The only reason Star Wars inspired so many other SFF movie back in the late '70s was because it was a new unique thing, that's not the case any more.

Well, I wouldn't call something that was an extended homage to the adventure serials of the '30s and '40s "new and unique," exactly. Unless you're speaking of its visual effects, which were the real game-changer for SF movies.
 
The only reason Star Wars inspired so many other SFF movie back in the late '70s was because it was a new unique thing, that's not the case any more.

Well, I wouldn't call something that was an extended homage to the adventure serials of the '30s and '40s "new and unique," exactly. Unless you're speaking of its visual effects, which were the real game-changer for SF movies.

Good point. The visual effects were game-changers in 1968 with 2001:A Space Odyssey , on television in 1975 with Space:1999 and in 1977 with Star Wars.
 
The only reason Star Wars inspired so many other SFF movie back in the late '70s was because it was a new unique thing, that's not the case any more.

Well, I wouldn't call something that was an extended homage to the adventure serials of the '30s and '40s "new and unique," exactly. Unless you're speaking of its visual effects, which were the real game-changer for SF movies.
I guess, but I've seen interviews with people talking about how amazing it was, and how they'd never seen anything like it before.
 
The only reason Star Wars inspired so many other SFF movie back in the late '70s was because it was a new unique thing, that's not the case any more.

True. The post 2001 (a serious film) FX / space opera that was 1977's Star Wars was new to audiences who were used to largely bleak, dystopian sci-fi dramas for nearly a decade (Rollerball, the Planet of the Apes films, Soylent Green, The Omega Man, Logan's Run, etc.). The space opera framed good vs evil archetype had been absent for so long that in its new form--courtesy of Lucas--it took many moviegoers by storm. As a result, movies were hit by the first wave of copycats, or studio investment in big budget sci-fi (usually set in the then invigorated space backdrop).

Today, Star Wars is just another franchise, and is not going to inspire another movement--like the return of Space:1999, a form of sci-fi occupying its own, unique period of time and nostalgia.
 
About Barry Morse though, he wanted more money for one thing.

For the second series of Space 1999 Morse was offered less money than the first series. Morse attempted to negotiate a higher offer through his agent, but Gerry Anderson was unwilling to offer more. Ultimately no agreement was reached, and Morse did not return. He reprised the role of Victor Bergman in The Return of Victor Bergman, filmed in 2002 and first shown at the Journey To Where convention, 2010.

And he had other issues.

"It seemed very intriguing and we all knew that there was the possibility of making a very thrilling series out of space exploration and science fiction. But there was only one script. The truth is, on day one when we all went to Pinewood Studios to start shooting, neither Martin, nor Barbara, nor I or indeed anybody else had seen a script. To an old circus horse like me it was a bit ominous. I though 'Uh-oh..' The series was always a constant race against time. The result of that, in my view, was that not enough attention was paid to those small details of character and relationship which are the most important thing in a dramatic series.
I came up with the idea that Victor Bergman had come to England as a refugee child during the reign of the Nazis, and that he might have originally been Austrian or Czechoslovakian. I built up a whole character based on that, and the idea that, being somewhat older than almost all the other people on the space station, Professor Bergman could almost be described as a kind of space uncle.
I thought the quality of the writing and overall production in general really left a lot to be desired. An episode I thought was unusually effective was The Black Sun. We pretty much improvised a good deal of that episode. I recall one particular scene where Martin Landau and I were sitting on the steps. That scene had a certain amount of human value- no explosions, just two human beings.
After a year and a half, the quality of our scripts I didn't feel had made the improvements that they could have. Gerry came to me and asked me about the future and told me that they were going to go on with a new producer whose name is Fred Freiberger. Well, I had known Freddie in Hollywood in past times and he's an admirable fellow, I'm sure. He's kind to animals and writes regularly to his mother, but I didn't feel that, and he knows it, he was likely to improve the quality of the scripts either. So when Gerry asked if I wanted to go on and do however many shows there would be, and since the option was on my side, I simply said, Gerry, it's been lovely and I wish you all kinds of luck, but if it's all the same to you I'd just as soon like to go and play with the grown-ups for a while. I didn't mean to be unkind, but I just felt that a year and a half was enough. I've not seen any of the shows after that, so I don't know whether they were better or not, and it doesn't matter now. I enjoyed the time I spent with it, but I've always been a little disappointed that we didn't do it better for your sake."
 
That's great stuff!!! Where's it from? I've often wondered what his discipline was supposed to have been as I don't think it was ever mentioned explicitly. Theoretical physicist?
If that's a plausible guess, It's of interest what the need was seen by Simmons dispatching him there or Gorski requesting his presence. The spare dialogue when Bergman and Koenig greeted each other seemed to suggest that he was there to put his expertise to the pilot deaths that were occurring. Maybe it was Simmons way of placing an impediment in the way of Russell and her theory, which he saw as an immediate threat to the Meta mission.

Back to money for Season 2. I don't exactly recall the reason that RAI was no longer involved in financing. I think there was an issue injected that their continued partnership required the inclusion of an Italian actor in a major role. Though I don't know their investment relative to ITC in Season 1, perhaps remaining a factor going forward could have provided a sufficient counterweight to Anderson being obliged to the will and direction stipulated by ITC U.S.

Well, if "ifs" and "buts" were candy and nuts, etc.
 
I always thought Anderson's live action shows were poorly written but looked great, as opposed to stuff like Blakes 7 which was written fantastically but looked like crap.

Should've got him to make Blakes - it would still have looked good.
 
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